Archie Goodwin

Marvel Super Action #1 (January, 1976)

Posted on by Alan Stewart

As was discussed in detail in our post about Marvel Preview #4 several weeks ago, by 1975 all four of the black-and-white comics magazines with which Marvel Comics had made a big push into that market just two years before were winding down.  But Marvel was far from throwing in the towel on the B&W format itself.  Accepting that the early-’70s horror boom that had inspired the launches of Dracula Lives and its ilk was pretty much over, Marvel now looked to other genres for new titles that could replace those that had made up the “Marvel Monster Group”.  Read More

Marvel Preview #4 (January, 1976)

Posted on by Alan Stewart

Back in the early months of 1973, Marvel Comics confidently made a big push into the black-and-white comics magazine market then dominated by Warren Publishing with a slate of four horror titles — Dracula Lives, Monsters Unleashed, Tales of the Zombie, and Vampire Tales — obviously designed to go head-to-head with Warren’s trio of Creepy, Eerie, and Vampirella.  Within two-and-a-half years, however, all four of those books had shuffled off back to the graveyard, victims of a general downturn in the horror genre’s appeal to American comics fans that had also prompted a significant pruning of Marvel’s color comics of that ilk.  (TTFN, Man-Thing; catch ya later, Morbius; Living Mummy, we hardly knew ye.)

Still, if you’d taken a look at the magazine racks in October, 1975, Marvel’s confidence in its ability to compete in the B&W comics field — or, at least, its determination to do so — would hardly have seemed to have diminished since the heady days of the “Marvel Monster Group”.  That month, you might have scored copies of Deadly Hands of Kung Fu #18, Planet of the Apes #15, Savage Sword of Conan #9… maybe even Crazy #15 or Doc Savage #2 (which had both come out in August, but wouldn’t be bumped off the stands by new issues until December).  And also, of course, the book that’s the main topic of today’s post:  the fourth issue of Marvel Preview.  Read More

Captain Marvel #39 (July, 1975)

Posted on by Alan Stewart

When last the regular readers of this blog saw Captain Marvel, he’d just been defeated and taken prisoner by the Watcher — a formerly benign, self-declared non-interventionist, whose sudden heel turn after over a decade of Marvel Comics appearances seemed to come out of nowhere — who had then proceeded to hand him over to the mysterious, heretofore unseen enemies who’d been giving our hero trouble ever since the end of auteur Jim Starlin’s run on the series — the Lunatic Legion.

Our first glimpse of those baddies (see right) made them look pretty loony, indeed.  But, considering that storytellers Steve Englehart (co-plotter/scripter), Al Milgrom (co-plotter/penciller) and Klaus Janson (inker) were giving us a Captain Marvel’s-eye view of the LL, here — and also considering that Mar-Vell was, at the time, tripping balls on LSD (euphemistically referred to in the story as “Vitamin C”, so as not to draw the unwelcome attention of the Comics Code Authority) — one might reasonably doubt whether the image we saw here was entirely representative of objective reality.  Read More

Savage Sword of Conan #4 (February, 1975)

Posted on by Alan Stewart

The fifty-year-old comics magazine we’ll be looking at today leads off with a cover by fantasy painter Boris Vallejo that actually illustrates the issue’s lead story — something which wasn’t exactly unheard of with Marvel’s black-and-white comics of the 1970s, but wasn’t quite what you’d call commonplace, either.  About the only significant discrepancy between cover and story is that the young lady in Vallejo’s painting is depicted as wearing a little less clothing than the equivalent character drawn by John Buscema and Alfredo Alcala in the story’s version of this same scene… but it really is only a little less, as we’ll soon see.  Read More

Savage Sword of Conan #2 (October, 1974)

Posted on by Alan Stewart

In 1974, star comics artist Neal Adams had largely turned away from pencilling comic book stories.  But he did keep his hand in in the field in various ways, such as by turning out painted covers for Marvel Comics’ black-and-white magazine line on a fairly regular basis.  The second issue of Marvel’s new Savage Sword of Conan title is graced by one such; like most of the covers produced for the b&w line, by whichever artist, it doesn’t have a whole lot to do with the magazine’s specific contents.  But I’m sure I didn’t complain when I first picked this book up half a century ago, and I doubt many other readers did, either.

Turning past that cover to the issue’s double-page frontispiece/table of contents, we’re greeted by the first published professional work of a young artist who was as unknown in August, 1974 as Adams was famous:  Read More

Savage Sword of Conan #1 (August, 1974)

Posted on by Alan Stewart

In June, 1974, the Hyborian Age was clearly in full flower at Marvel Comics.  Along with the latest installment of the publisher’s successful ongoing Conan the Barbarian series (issue #42, for the record), the month also brought the fans of Robert E. Howard’s famous sword-and-sorcery hero the first issue of a brand-new quarterly companion title, Giant-Size Conan.  This new series got off to a spectacular start, featuring the first chapter of a multi-part adaptation of Howard’s one and only Conan novel, “The Hour of the Dragon”, as written by Roy Thomas and drawn by Gil Kane and Tom Sutton.

And that wasn’t even the biggest news in Conan comics this month; rather, that distinction went to the main topic of today’s blog post, The Savage Sword of Conan #1 — the first issue of a brand-new black-and-white bi-monthly magazine devoted to the barbarian adventurer and his fellow Howardian heroes.  It was, in some ways, Conan’s third coming as far as the b&w comics market went, following as it did both the initial release of Savage Tales in January, 1971, and the subsequent relaunch of that title with its long-delayed second issue in June, 1973.  It was also the biggest black-and-white comic Marvel had yet published — a square-bound number that weighed in at 80 pages (as compared to the then standard 64), and cost a whole buck (as compared to Marvel’s other b&w offerings’ going price of 75 cents).  Read More

Detective Comics #439 (Feb.-Mar., 1974)

Posted on by Alan Stewart

As of November, 1973, it had been twenty-seven months since the last time I bought an issue of Detective Comics.  (For the record, that issue was #416, featuring the fourth appearance of Man-Bat.)  There hadn’t been any conscious “drop” decision involved in this long dry spell between purchases; like a lot of other titles, Detective was simply one of those books I made an individual buy-or-not-buy choice about every time I saw a new issue on the stands.  I’d check out the cover, glance at the credits for the Batman story, note who Bats was fighting this go-around — maybe even see who was starring in the backup feature (there was always a backup feature back then) — and if one or more of those aspects grabbed me (or, if the spinner-rack pickings were really slim that week, even just mildly interested me), I bought the comic book.  Read More

Amazing Spider-Man #122 (July, 1973)

Posted on by Alan Stewart

Like its immediate predecessor, the 122nd issue of Amazing Spider-Man leads off with a cover by John Romita, which, if not quite as iconic as that of #121, is still an exceptionally arresting image.  Not to mention one which, back in April, 1973, would likely have shocked the hell out of any semi-regular reader of the web-slinger’s series who had somehow managed to miss not only that most monumental of issues, but also any fannish discussion of same over the several weeks since its release on March 13th.

If there were any such readers fifty years ago, and if they hoped for some sort of recap to bring them up to speed on the details of how so something so unthinkable as the murder of Spider-Man’s beloved Gwen Stacy had come to pass, they were pretty much out of luck — because the creative team behind both the previous episode and this one — i.e., scripter Gerry Conway, penciller Gil Kane, foreground inker John Romita (who may have also contributed to the plot) and background inker Tony Mortellaro — weren’t about to break their storyline’s headlong momentum with any more exposition than was minimally required, let alone any flashbacks:  Read More

Marvel Premiere #8 (May, 1973)

Posted on by Alan Stewart

Last April, we took a look at Marvel Premiere #3 (Jul., 1972), which featured Doctor Strange starring in his first full-length solo adventure since the cancellation of his title back in 1969.  In this issue, artist Barry Windsor-Smith and scripter Stan Lee introduced a mysterious new adversary for the Master of the Mystic Arts — a menace who was powerful enough to suborn one of the Doc’s oldest and most formidable foes, Nightmare, but who remained yet nameless and unseen at the episode’s conclusion.

More clues were forthcoming in the following bi-monthly issue, which we covered here last June.  This one was drawn by Windsor-Smith in collaboration with relative newcomer Frank Brunner, while Archie Goodwin scripted from a plot by Roy Thomas; it saw the storyline take a turn towards cosmic horror, as Dr. Strange journeyed to the New England village of Starkesboro, whose half-human, half-reptilian inhabitants secretly worshiped the demonic entity Sligguth.  However, Sligguth himself was no more than another servant of the same dark threat that our hero had first learned of in MP #3 — a threat that still remained nameless in this installment, though we at least learned a bit more about him — mostly courtesy of Doc’s mentor, the venerable Ancient One, who warned of the imminent return of “a cosmic obscenity that slumbers”.  The issue ended on a cliffhanger, with Strange shackled to a stone altar, about to be sacrificed to Sligguth by the demon’s scaly celebrants:  Read More

Hero for Hire #9 (May, 1973)

Posted on by Alan Stewart

In March, 1972, Marvel Comics published the first issue of Hero for Hire.  The new comic’s titular star, Luke Cage, wasn’t Marvel’s first Black superhero (that distinction belonged to the Black Panther, who debuted in 1966), or even its first Black American superhero (that would be the Falcon, whose first appearance came in 1969).  But he was the first Black superhero to star in his very own comics title — not just from Marvel, but from any major American company — and that made the release of Hero for Hire #1 a milestone.

According to Roy Thomas, the initiative to create Luke Cage came from Stan Lee, who was then on the verge of ascending from his longtime role as Marvel’s editor-in-chief to become its publisher — and who was determined to diversify Marvel’s line on a number of levels, one of which was race.  Taking obvious inspiration from the “blaxpoitation” trend in early 1970s American cinema, Lee and Thomas worked with writer Archie Goodwin and artist John Romita to conceptualize and design the new hero, before bringing two more artists on board — George Tuska and Billy Graham. (the latter being the only Black person among this assortment of talents) — to craft the first issue’s story with Goodwin.  Read More